Artemisia Gentileschi Essay

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

Cynthia Heredia Professor Meredith Art-7 10/10/17 Research Paper A female artiste in the 1600’s by the name of Artemisia Gentileschi, painted an image that strongly represented the ideas of sexual assault and rape culture among women. The image is known as Susanna and the Elders and the painting displays a women who is nude and seems to be bathing herself in the garden as two men watch. Going more into detail about the image and analyzing it, we can actually see the story and history behind the image.

Augustus’s rule as emperor and his efforts to make Rome a city without compare, has led to an influence and inspiration of architectural design that resonates with Roman Imperial successors in other dynasties. His ideas and completed projects influenced and inspired his successors in various ways. The main buildings that prove to be influential consist of the manipulating water, creating gardens and parks, and Augustus’s home. Emperor Nero and Hadrian illustrate Augusts’s impact through the erection of Domus Aurea and Hardian’s Villa in Tivoli.

Artemisia Gentileschi is believed to have been born around 1593 and died around 1652.  Both dates are disputed to the current day.  She was one of five children and was born into the life of an artist.  Her father, who was an artist as well, loved her greatly.  Her mother died when she was twelve.  Artemisia was always a skilled painter, but her father wanted even more for her daughter.  While her works were already amazing for her age, she needed artistic guidance in order to further her skills.  One man who was hired as a tutor was named Agostino Tossi.  Tossi almost immediately was an annoying presence in the house frustrating Artemisia.  However, in 1610,

Essay Topic 4: Augustus made significant urban and architectural interventions on the city of Rome. Choose three buildings/monuments related to his reign and discuss how they reflect his impact. What representational messages were they designed to convey?

The painting The Holy Family with Saints Anne and John the Baptist, 1592 (oil on canvas) was created by Italian painter Sofonisba Anguissola (c.1532-1625). It is currently held at the Collection of the Lowe Art Museum, University of Miami, as a gift from Mrs. Forbes Hawkes and Bridgeman Images. This painting is among the unique pious narrative paintings by Anguissola. “The Holy Family” is the last dated painting by the artist. It was executed when she had just returned to Italy after spending 14 years working for King Philip II at the Spanish court. By this time, she had already married to a Genoese ship captain. Her various visits to court and her personal contacts with great painter at that time largely inspired herself. Through these contacts, she successfully stayed in touch with current developments in art. By closely observing this masterpiece, I argue that the artist perfectly sustain the beauty of counter-reformation arts in her work by use of light and shadow, delicate brushwork and accurate proportions of each subjects.

One more painting by Artemisia in which depicts not the injustice and her fight for female integrity, but may have reflected on her own personal feelings is her Self-Portrait as the Allegory of Painting. The first thing one notices when looking at this picture is the darkness in color. The darkness of the room in the painting represents her reflection of her violent past, but ultimately shaping her into the woman she became. She painted herself lighter in color against the darkness of the room, looking up in hope, doing what brings her most joy in life: painting. “Artemisia’s self-portraits is not simply a matter of identifying the artist’s features in a work but also of recognizing the artist’s deliberate elision between subject and

Artemisia Gentileschi was not the first to paint Judith Slaying Holofernes. Her father had painted Judith. Michelangelo, Botticelli and Caravaggio had painted Judith. Donatello had sculpted Judith. But she was the first to interpret the story of Judith, in a time when women had few rights, as an allegory for female dominance. In comparison with other contemporary versions, the composition, dramatic style, and emotions of the characters present a violently feminist view that may have stemmed from Gentileschi's own experiences.

With this narrative and spirit of historical conundrums in mind, we will examine two primary Ancient Roman sources. The first will be Augustus’s Res Gestae Divi Augusti and the second, Book Ten

Many of us today have things in our culture that we appreciate without thinking about where they have come from. The things we enjoy so much could be from another culture, and even another place in time. This document will explore the influence of Italian Renaissance art on today's civilization, which has greatly changed the art of today.

     This paper will compare the themes found in the paintings “Madonna and Child with St. John the Baptist and an Angel” by Domenico di Bartolomeo Ubaldini (Puligo) and “Madonna Enthroned” by Giotto. Both paintings deal with fables from the Christian faith but were executed during different periods in art. The Giotto painting was created around 1310 and the Puglio painting was executed between 1518 – 1520. Here, these two paintings have similar themes both at the extreme beginnings and endings of the Italian Renaissance, and as such they serve to present an exceptional example of the developments in art that occurred within that time. This paper shall compare

In this essay, I will be discussing the origins and relevancy of Rome’s conquest of Italy during the Middle Republic. Included will be Rome’s governing structure of it’s allied states, and the treaties, both of which aided in the long term success of Rome.

First, we visit St. Peter’s Basilica and Adjoining Piazza in Rome. The beautiful structure still used today, initially was brought to fruition by Donato Bramante as a temple shaped like a Greek cross. Quickly Pope Paul V rejected the design, deeming the Greek cross to be pagan-like. He commissioned Carlo Maderno to make some changes to the floor plan, adjusting the look into a Latin cross. The florid baroque styles are seen entering the Apse and Alter, which “symbolized the power and richness of the church” (392). The sculptures throughout, specifically in the Apse, are dramatic and real, shunning classical styles.

The art and architecture in the Augustan regime fundamentally reflected the new order and glorified the position and power of Augustus. Initially, at the beginning of his political career, Augustus wished to portray himself appropriately, therefore devised a new image as the first leader of the restored Republic. The academics Walker and Burnett comment that this plan included the melting down of eighty silver statues of Augustus, as the metal was “considered inappropriate for images of living persons and should be reserved for gods” (Walker and Burnett, 1981, 17); the silver was then offered to the Temple of Apollo. Nevertheless, Augustus’ intention to limit the use of his image can appear to be

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